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Vos quid admiramini; Gratissima virginis species; Gaude, gloriosaFour-voice motet by Philippe de Vitry SourcesBrussels: Archives du Royaume, Archives Ecclésiastiques 758, fol. 67bis verso (Triplum and incomplete Motetus);Cambrai: Bibliothèque Municipale 1328, fol. 15v citation, (see BesselerS I, 250f); dated; Durham: Cathedral Library C.I.20, fol. 336v (4/2); Ivrea: Biblioteca Capitolare 115, fol. 8v-9 (4/2) (plus 2 Tenor solus); Paris: Bibliothèque Nationale, fonds nouv. acq. français 23190 (olim Serrant Château, ducs de la Trémoïlle), fol. 22v-23 (lost). Facsimiles1. Manuscripts of 14th Century English Polyphony: A Selection of Facsimiles, edited by Frank Ll. Harrison and Roger Wibberley, London: Stainer & Bell, 1982. Early English Church Music XXVI, plates 158-159 (DRc20).2. LERCH, Irmgard. Fragmente aus Cambrai: Ein Beitrag zur Rekonstruktion einer Handschrift mit spätmittelalterlicher Polyphonie, Kassel: Bärenreiter, 1987. Göttinger Musikwissenschaftliche Arbeiten, Band II, 200. Editions1. BESSELER, Heinrich. 'Studien zur Musik des Mittelalters. II. Die Motette von Franko von Köln bis Philippe von Vitry', Archiv für Musikwissenschaft, VIII (1926), p. 250.2. JOHNSON, Mildred. The 37 Motets of the Codex Ivrea. Vol. I: Commentary, Vol. II: Transcriptions, Ph.D. dissertation, Indiana University: 1955, no. 8. 3. The Roman de Fauvel; The Works of Philippe de Vitry; French Cycles of the Ordinarium Missae, edited by Leo Schrade, Monaco: Editions de L'Oiseau-Lyre, 1956. Polyphonic Music of the Fourteenth Century I, p. 76. 4. Medieval Music, edited by W. Thomas Marrocco and Nicholas Sandon, London: Oxford University Press, 1977, no. 58. 5. LERCH, Irmgard. Fragmente aus Cambrai: Ein Beitrag zur Rekonstruktion einer Handschrift mit spätmittelalterlicher Polyphonie, Kassel: Bärenreiter, 1987. Göttinger Musikwissenschaftliche Arbeiten, Band II, p. 192. Text EditionsBLACHLY, Alexander. The Motets of Philippe de Vitry, Columbia University (M.A. thesis), p. 125.Literature1. LUDWIG, Friedrich. 'Die Quellen der Motetten ältesten Stils', Archiv für Musikwissenschaft, V (1923): 185-222; 273-315.2. BESSELER, Heinrich. 'Studien zur Musik des Mittelalters. II. Die Motette von Franko von Köln bis Philippe von Vitry', Archiv für Musikwissenschaft, VIII (1926): 137-258. 3. REESE, Gustave. Music in the Middle Ages, New York: W. W. Norton, London: J.M. Dent & Sons, 1940, p. 338. 4. ZWICK, Gabriel. 'Deux motets inédits de Philippe de Vitry et de Guillaume de Machaut', Revue de musicologie, XXVII (1948), p. 32. 5. SCHRADE, Leo. 'Philippe de Vitry: some new discoveries', Musical Quarterly, XLII (1956): 330-354. 6. MAILLARD, J. and André. GILLES. 'Note sur trois motets fantomes de l'Ars nova de Philippe de Vitry', Revue de musicologie, XXXVIII (1956), p. 150. 7. BUSSCHE, J. van den. 'Mensurale Fragmenten uit een Cartularium van de St. Goedele Kerk te Brussel', Handelingen van het XXII. Vlaamse Filologencongres, Ghent: 1957, p. 368. 8. REANEY, Gilbert. '"Ars Nova" in France', [chapter 1 of] The New Oxford History of Music. III. Ars Nova and the Renaissance, edited by Dom Anselm Hughes and Gerald Abraham, London: Oxford University Press, 1960, pp. 9-10, 11. 9. SANDERS, Ernest. 'The mediaeval motet', Gattungen der Musik in Einzeldarstellungen: Gedenkschrift Leo Schrade, Erste Folge, Bern, Munich: 1971, pp. 497-573. 10. THIELE, Siegfried. 'Zeitstrukturen in den Motetten des Philippe de Vitry und ihre Bedeutung für zeitgenossisches Komponieren', Neue Zeitschrift für Musik, CXXXV/7 (1974), p. 429. 11. SANDERS, Ernest H. 'The early motets of Philippe de Vitry', Journal of the American Musicological Society, XXVIII (1975): 24-45. 12. NEWES, Virginia E. 'Imitation in the Ars nova and Ars subtilior', Revue belge de musicologie, XXXI (1977): 38-59. 13. LEFFERTS, Peter M. The Motet in England in the Fourteenth Century, Ann Arbor: UMI Research Press, 1986, p. 253. Recordings1. Missa Tournai um 1330. Motetten um 1320, Capella Antiqua München, directed by Konrad Ruhland (1967): Telefunken AW6 41231 (SAWT 9517) (GER).2. Musica in Bohemia in Tempore Caroli IV, Soloists, Symposium Musicum, Prague Madrigal Singers, directed by Miroslav Venhoda (1977): Supraphon 11112 2451/2. 3. The Service of Venus and Mars: Music for the Knights of the Garter, 1340-1440, Gothic Voices, directed by Christopher Page (1986): Hyperion A66238. 4. Philippe de Vitry 1291-1361, Benjamin Bagby and Barbara Thornton, Sequentia (1991): RD 77 095. TextTRIPLUMVos, quid admiramini. virgines, si virgini pre ceteris eligende dignati fuerimus nubere? dum nupsimus tamquam valde diligende: Ista pulcra spetie. humilis manerie ac opere virtuosa; turpis vestrum altera. ausu numis aspera. necnon virtutes exosa. Ista lux, vos nubila ista velox aquila. vos, colubres gradientes! Ista super ethera regnat, vos in misera valle languetis egentes. Ista virgo regia dulcis est amasia. mea sponsaque pia; rex ego sum, hec regina! Quid tanta referimus? - nos qui cuncta novimus dignam preelegimus et ut rosam hanc pre spina. Surgite vos igitur (quia tempus labitur et mors nos persequitur) - huic servite, hanc vocate! quod si neglixeritis. illam non videbitis gloriam quam cupitis. vos eya properate! MOTETUS "Gratissima virginis species. quam decorat carnis mundicies. usque centrum placasti intima mei cordis plaga dulcissima." "Intra stillans amoris spiritum nescientem pectoris exitum. gratissime, simili vulnere peperisti mundum me ledere." "O regina, tuum amplectere astringendo pectus cum ubere (........................)." "O rex regum, oculum oculo et os ori iunge pro osculo. ac inspira verbum in labia quo recepto fiat caro dia." TENOR Gaude gloriosa. TranslationTRIPLUMYou girls, why do you wonder that I have thought it fitting to wed a girl who is peerless beyond the rest? - since I have married one as lovable as can be. She is beautiful in looks. gracious in manner. and excellent in deed. Any other girl among you is worthless. far too rude in forwardness. contemptuous of excellence. She is light, you are clouds. she a swift eagle. you, creeping serpents. She reigns beyond the skies while you languish, deprived. in a wretched valley. This royal maiden is a sweet mistress. and my devoted bride. I am a king - she is my queen! Why do I tell all this? I who know everything have chosen a lady of worth. one who is as a rose surpassing thorns. Arise, then, all of you (as time slips past and death pursues us) - serve this lady, call upon her! If you neglect this. you will never see the glory for which you long - ah, come quickly now! MOTETUS "Most beloved beauty of a girl. graced by the radiance of your body. you have made the depths of my heart serene to their very centre, with the sweetest wound." "Raining down the spirit of love. spirit that knows no way out of my breast. you, most beloved, have made an implement to strike me with a wound like your own." "O queen, to be entwined in your embrace, your breast..." "O king of kings, let my eyes meet yours. let our lips meet in a kiss. and breathe into my mouth the word through which my body may become godlike." TENOR Rejoice, o glorious Virgin! Text revision and translation © Alexander Blachly |
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